In the course of putting together each episode of Off The Air, we look at literally a dozen clips. Sometimes even a baker’s dozen. Here are almost all of the clips that for some reason, didn't make it
We were both fascinated and creeped the hell out by this footage of a military robot prototype "dog". It's easy to imagine this being the first thing you see that lets you know the end times have come at last. We slapped some moog synth under it, and were good to go . But for some reason, Boston Dynamics didn't see the upside to having their military prototype featured as late night stoner bait on Adult Swim. Can't understand that.
We forget why we couldn't get this, and after looking at it again, it's a little sad we didn't. It's got everything: Catchy tune, a love story, and men dressed up as dogs performing ritual dances, It's crazy in a way that only the Japanese can be, especially when they are trying to sell you highly packaged potato chips.
MY DOG IMPERSONATING ORSON WELLES
This is a funny and slightly crappy (in the best way) animation based on the classic Paul Masson outtakes. It would have been an absolute nightmare to get the rights to, so we didn't even touch it. Sadly, we in the broadcast world can't just rip s**t off and present it to you as if it was our own. Lookin' at you, Internet.
Love this. Not really sure why we didn't try to get it. Can you have too many ostrich segments? No, you can't.
HUGE SNAKE ATTACKS CAMERAMAN
The cheapest thrill on the Internet. The long slow pan up that thick disgusting body. Then that micro-moment of realizing it's looking right at you. And then, pow, you're being slowly digested. We think this came out after “Animals” was finished, because we would have opened and closed with this awful effing video.
GIANT FROG FISH
We put some dumb human sounds under this footage of a frog fish getting its meal, and had a pretty goofy little segment going. But footage this dorky doesn't come cheap. And for us, cheap is really, really cheap.
METALOCALYPSE KITTY SONG
The original idea for the show was to incorporate little bits from all our other other shows in addition to things found on the Internet. But then we learned that we would still need to license the clips from our own shows, and it sort of sold out the rest of the stuff, so we're glad it didn't work out. But this is still a pretty funny clip. Skillet's 2-minute drum solo was also in the cut at some point.
FRILLED LIZARD - NATIONAL GEOGRAPHIC
Remembered this footage from childhood, and badly wanted to use it in this episode. But NatGeo would rather slap some hokey America's Funniest Home Video narration under it, and use it in a goofy kids show. So we went with the Getty clip that's in the episode. Frilled lizards are funny no matter who shoots ‘em.
LCD SOUNDSYSTEM “DRUNK GIRLS” VIDEO
For a long time, this video was the last clip in the episode, right before the star spangled banner. It worked great, and it's a great video, but it always felt a little out of place with the show. Too slick, maybe? A little too high profile. So then, we looked back through all our links and found Anthony F. Schepperd's animated video for The Music Scene by Blockhead, and we knew what had to happen.
Off the Air is a television series on Cartoon Network's late night programing block, Adult Swim. Off the Air premiered in the United States, unannounced, on January 1, 2011 . The show is created by editor Dave Hughes, and produced by Hughes' company, Million Monkeys Inc.
The series lacks storylines and plots, and consist only of a collection of animations, internet videos, and archival footage, which are held loosely together by a theme.
Before KOYAANISQATSI, there was ORGANISM. Hilary Harris actually contributed some of his innovative time-lapse footage to Godfrey Reggio’s art-house blockbuster but his ORGANISM remains a singular achievement. Shot over the course of fifteen years, the film deepens its splendid visual investigations of how New York works by likening the city’s complex systems to those of a single biological organism. Harris is hardly the first to suggest this metaphor but it registers with fresh life in his canny montage: the flickering lights of the skyline at night correspond with descriptions of neurons firing and the flow of traffic is brilliantly juxtaposed with the microscopic movement of blood cells. Within the time-lapse frame, Harris carefully engineers continuous zooms and layers the composition so as to realize several concurrent elements of circulation. Time itself registers in many guises here: the routinized movements of a cafeteria at lunch, the precise intervals of planes touching down at LaGuardia and the long haul of a construction site. The wondrous view may be technologically enhanced but ORGANISM is unmistakably cinema with a human touch. - Max Goldberg
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